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Larger context for LACK in Corpus USbrown_UKbncw/US_brown.txt

Every detail in his interpretation has been beautifully thought out, and of these I would especially cite the delicious la^ndler touch the pianist brings to the fifth variation (an obvious indication that he is playing with Viennese musicians), and the gossamer shading throughout.
Some of Curzon's playing strikes me as finicky, however.
Why, for example, does he favor two tempos, rather than one, for the third movement?
The assisting musicians from the Vienna Octet are somewhat lacking in expertise, but their contribution is rustic and appealing.
(Special compliments to the double bass playing of Johann Krumpp: his scrawny, tottering sound adds a delightful hilarity to the performance.)
The Glazer-Fine Arts edition (Concert-Disc) is a model of lucidity and organization.
It is, moreover, a perfectly integrated ensemble effort.
But having lived with the disc for some time now, I find the performance less exciting than either Schnabel's or Fleisher's (whose superb performance with the Budapest Quartet has still to be recorded) and a good deal less filled with humor than Curzon's.
Aeschbacher's work is very much akin to Schnabel's, but the sound on his Decca disc is dated, and you will have a hard time locating a copy of it.
The Hephzibah Menuhin-Amadeus Quartet (Angel) and Victor Babin-Festival Quartet ( RCA Victor) editions give us superlative string playing (both in symphonic style) crippled by unimaginative piano playing.